RESUMO
This study evaluated the effects of a five-week period of practicing specific climbing movements using a system wall on motor skills and bouldering performance compared to self-regulated, conventional bouldering. Thirteen advanced female boulderers (age: 24.5 ± 3.6 years, height: 166.9 ± 3.4 cm, and body mass: 63.4 ± 8.0 kg) were divided into an experimental group (n = 7) and a control group (n = 6). Both groups continued their normal training routines during the intervention, but the experimental group dedicated 30 minutes of their climbing time twice per week to practicing specific motor skills on a system climbing wall. Before and after the intervention, the participants attempted two boulder problems on the same wall. The performance was registered as the number of attempts to complete the boulder problems and as the highest hold reached within four attempts. Video recordings of climbers' best attempts, capturing the highest hold reached from a perspective directly behind them, were analyzed by three independent experts. The analysis was conducted using a five-point scale across six categories of movement quality. Modest enhancements in certain motor skills and performance were evident in both groups, revealing no significant distinction between them. The results underscore the efficacy of incorporating system walls into the training routines of advanced female boulder climbers, but the absence of between-group differences highlights the significance of individual preferences when choosing between conventional and system wall bouldering.
RESUMO
This contribution takes a phenomenological approach to explore the sensuous flow and perceived experiences in practicing movement skills, using the practice of yoga as a case study. The article focuses on the role of perception and the anonymous aspect of the body's responses in practicing skills and capabilities to move, with yoga as an example. The author uses a phenomenological framework, highlighting how passivity and sensuous flow is available in the practice of yoga. Edmund Husserl's concepts of passive synthesis and Thomas Fuch & Sabine Koch interpretation of bodily resonance and Kym Maclaren's "letting be" are used as analytic frames to illuminate how movement experiences are dependent on bodily awareness towards the ground, without demanding conscious willpower or focus on force, but listening and sensing with and from the body. The article aims to illuminate the ambiguous character of how movement experienced from a first-person perspective gains importance by understanding oneself, others, and the world as reciprocal and intertwined phenomena.
RESUMO
The subject of the article is a critical investigation of research concerning age and dance. Our objective is to investigate whether and how researchers express their ideas about dance and age in a selection of research papers. We are particularly interested in whether researchers are reproducing an instrumental understanding of age in the context of dance and whether discourses of dance define bodies as older or younger in ways that differ from the definitions used in other social contexts. What kind of assumptions about the abilities of dancers form the baseline expectations of researchers? We wonder if harming the body is an implicit part of dance practice that operates as a tacit premise in the understanding of age and dance. Through a document analysis of several research texts on dance and age, we try to identify what kinds of meanings, expectations, and bodies such documents convey and produce. One of our findings from the analysis of the literature is that young dancers from western European countries and the U.S. are concerned with age throughout their entire career, while in dance practices in Japan, being an older dancer is regarded as a as a value that gives flavor and energy to both to aging and dance in a shared interaffective and mutual space.
